fokaIch hatte ja extra den Wahlmodus im Eingangspost verlinkt. Lesen, Ladies & Gentlemen, leeesääään! Dann kann man die Liste auch einordnen. Übrigens sind nicht nur die Juroren durchschnittlich ziemlich alt, auch die Ausgezeichneten sind das. Man muss wohl schon einige Jahre und Alben hinter sich haben, um da zu erscheinen. Trotzdem ist die Liste natürlich völlig lückenhaft…
Auf die Altvorderen konzentriert und US-lastig ist die Liste und genau deshalb passt sie gut zum ROLLING STONE.
Ich habe die Liste leider erst kommentiert und dann gelesen; das ist die falsche Reihenfolge. Das Interessanteste an solchen Sachen sind ja immer die Begleittexte.
mighty quinnDie Liste ist auch meiner Meinung nach zu vernachlässigen – es fehlen zu viele Gute.
Zu Dylan: Bono beschreibt im Heft ganz gut, warum Bob nach ganz oben gehört.
Das kann man hier ja mal zitieren:
BonoBob Dylan did what very, very few singers ever do. He changed popular singing. And we have been living in a world shaped by Dylan’s singing ever since. Almost no one sings like Elvis Presley anymore. Hundreds try to sing like Dylan. When Sam Cooke played Dylan for the young Bobby Womack, Womack said he didn’t understand it. Cooke explained that from now on, it’s not going to be about how pretty the voice is. It’s going to be about believing that the voice is telling the truth.
To understand Bob Dylan’s impact as a singer, you have to imagine a world without Tom Waits, Bruce Springsteen, Eddie Vedder, Kurt Cobain, Lucinda Williams or any other vocalist with a cracked voice, dirt-bowl yelp or bluesy street howl. It is a vast list, but so were the influences on Dylan, from the Talmudic chanting of Allen Ginsberg in „Howl“ to the deadpan Woody Guthrie and Lefty Frizzell’s murmur. There is certainly iron ore in there, and the bitter cold of Hibbing, Minnesota, blowing through that voice. It’s like a knotted fist, and it allows Dylan to sing the most melancholy tunes and not succumb to sentimentality. What’s interesting is that later, as he gets older, the fist opens up, to a vulnerability….
He was the Voice of a Generation, raised against the generation that came before. Then he became the voice of all the generations, the voices in the ground — these ghosts from the Thirties and the Dust Bowl, the romance of Gershwin and the music hall. … His voice is usually put to the service of more ancient characters.
Here are some of the adjectives I have found myself using to describe that voice: howling, seducing, raging, indignant, jeering, imploring, begging, hectoring, confessing, keening, wailing, soothing, conversational, crooning. It is a voice like smoke, from cigar to incense, where it’s full of wonder and worship. There is a voice for every Dylan you can meet, and the reason I’m never bored of Bob Dylan is because there are so many of them, all centered on the idea of pilgrimage. People forget that Bob Dylan had to warm up for Dr. King before he made his great „I have a dream“ speech — the preacher preceded by the pilgrim. Dylan has tried out so many personas in his singing because it is the way he inhabits his subject matter. His closet won’t close for all the shoes of the characters that walk through his stories.
…Dylan did with singing what Brando did with acting. He busted through the artifice to get to the art. Both of them tore down the prissy rules laid down by the schoolmarms of their craft, broke through the fourth wall, got in the audience’s face and said, „I dare you to think I’m kidding.“
Ein paar andere erklären auch ganz gut, was sie an den jeweiligen Sängern schätzen (z.B. Mary J. Blige über Aretha Franklin oder Iggy Pop über James Brown) – ich habe bis jetzt aber erst einen kleinen Teil der Texte gelesen.
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To Hell with Poverty